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The 23-year-old won gold in Budapest, Hungary, with a best throw of 91.09 metres to add yet another title to his growing collection this season, including Diamond League champion, Commonwealth Games champion, and the only thrower this season to register two throws over 92m.

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But his triumphant homecoming turned sour when he landed in Katunayake to find his equipment broken.

Pathirage posted a picture of the five damaged javelins, including the three he used at the Ultimate Championship, on social media on Tuesday with the caption: “Thank you Turkish Airlines.”

He also listed the distances he had thrown them: “85.98, 92.62, 88.50, 89.20, 89.37, 88.20, 89.68, 92.06, 91.06 good bye.”

“It might be a mistake by the airline, but it caused a priceless loss for me,” Pathirage told reporters. “It’s not a big issue; I’ll move on.”

His coach, Tony Prasanna, lamented the “rude shock” they were greeted with in Sri Lanka.

“We checked in five javelins — all packed extremely carefully and well — but all of them arrived broken,” Prasanna told the AFP news agency.

“It is not the cost of a javelin, which is quite high, but the emotional attachment,” he said.

“This is a psychological setback for Rumesh, and I will counsel him on it. We were planning to take three of these javelins to the 2028 Olympics and to the Asian Games.”

Sri Lanka’s Ministry of Sports said it would provide new javelins for world number one Pathirage to compete at the Asian Games in Japan’s Nagoya.

“The government will take up this matter with the airline and take appropriate legal action,” the ministry said in a statement.

It said Pathirage — the first Sri Lankan to become a Diamond League champion — is the country’s gold-medal hopeful at the Asian Games, where he will challenge Pakistan’s Olympic champion Arshad Nadeem for the top prize.

Javelins used by professional throwers usually cost upwards of $800, with world-class athletes owning three to five that they use in training and travel with for global competitions. %!s()

Jalonni Weaver is an in-house recruiter at a life insurance company in the Dallas-Fort Worth area. She's worked in the field since 2021. The following has been edited for brevity and clarity.

I was interviewing a candidate for an early-career role. We got on the call, and she introduced herself, then moved the camera. She was like, "My toddler's sitting right here eating. Is it OK? He's not going to be a problem."

She explained that she couldn't afford childcare because she was unemployed.

Her toddler wasn't a problem. I have a one-year-old, and she's a problem. Most of the time, her toddler was just eating. He would make noises every now and then, but we were able to get through the full interview.

I've been unemployed with a kid. Thankfully, I could still provide because I had a significant other, but I understood where she was coming from.

People face challenges. Not every applicant may have a strong WiFi signal. Not every applicant may have a super quiet environment. I've had several times when people have been interviewing from their cars or from closets. I don't really look at where you are because I try to put myself in everybody's shoes.

I'm like, "In this market, if you're doing this, you need a job." I try to look at the bigger picture and not flag people just because they're not in a suit sitting at a desk.

I try to look at it from a human lens rather than, "You'll get docked because you had to reschedule your interview because you're in the hospital."

That doesn't mean there are no red flags. If someone reschedules and reschedules, I'm sending an email asking, "Hey, is there something going on? Are you still interested?"

If somebody doesn't show up, I'll send one email and say, "If you would like to reschedule, here's the link."

It's all about communication. The people who show up with their kids or interview in their cars are making an effort.

In this case, I moved the woman forward in the process because she did well, not because I felt pity for her.

For the second round, she came in person to interview with a panel after finding someone to watch her son. After her interview with the team, they said they wanted to hire her.

A couple of hours later, I called her with the good news. I knew she was with her toddler again because I could hear him in the background. I told her she got the role, the pay, and that they enjoyed meeting her. She was ecstatic.

After she got the offer, she said it would allow her to look into childcare. She's also moving closer to the office.

That matters because in Dallas, if you live in a suburban area, and you're coming into a busier area, it's going to take you a good minute to get here. If you're getting off at 5 o'clock, you don't want to have to rush across town before day care closes.

There are so many things that happen in life, and you don't realize what a small gesture of being human can do.

Since I have a toddler, too, I know that feeling as a mom: You just want to provide for your child.

When she found out she got the job, you could hear the relief in her voice, like she was thinking, "I can finally start living again and doing what I need to do."

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Tim Paradis

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Tim reports on the workplace and the forces reshaping how people make a living, including AI, remote work, and corporate cost-cutting. His reporting examines how those shifts are changing careers, management, hiring, performance expectations, and workers’ day-to-day lives, particularly in fast-changing fields such as tech.He previously reported on Wall Street and the stock market for the Associated Press.

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“I hope that it can work on two levels. It’s full of humanism, but it also shows that as humans, we shouldn’t always put ourselves first.”

His protagonist, Pasi, needs to understand that as well. In the sterile future, nature and animals no longer exist. At least, that’s how it seems until Pasi, who designs artificial pets, suddenly encounters an actual squirrel – maybe the last one in the world. He brings it home, but it’s not happy there. It belongs in the wild.

“The Squirrel” stars Miro Lopperi (“Codename: Annika”), Mimosa Willamo (“Sisu”) and Hannu-Pekka Björkman (upcoming “Red Snow”). Recently shown at Fantastic Fest, the film is sold by REinvent International Sales and produced by Bufo, Pallas Film, Volya Films and Zentropa Sweden.

Being selected as an Oscar submission has been “rewarding,” says Lehmusruusu.

“It’s a big risk to make a film like that, which doesn’t fit within one genre.”

In recent years, Finland has selected several films that don’t fit the typical Oscar mold, from “Euthanizer” to “Family Time” and boozy comedy “100 Liters of Gold.” It has only earned one nomination in the category, for Aki Kaurismäki’s “The Man Without a Past.”

“It’s about telling stories that come from the heart without overthinking where they ‘fit’,” notes Lehmusruusu.

“Now, I’m working on projects that feel almost naturalistic, but I’ve always been interested in films that depict someone’s inner world. Cinema can convey that so easily. It’s like a magic trick.”

For his characters, the situation is clear: animalistic urges are bad. But as the story progresses, they want to give in to them.

“Thanks to technology, we sometimes feel omnipotent. But wouldn’t something be missing if replaced nature with something that doesn’t have its downsides?,” wonders Lehmusruusu.

“This also led to sexuality being a big part of the film because we keep hearing about people not having sex anymore. Young people just aren’t interested, partly because they’re repulsed by bodily fluids. Sexuality is perhaps the most primal force we have left, and we are becoming detached from it.”

Luckily, it only takes one squirrel to open his characters’ eyes and encourage them to venture outside of their comfort zones. Even though they’re so used to controlling their bodies and their surroundings.

The film’s naughty, not-quite-PG side is perfectly exemplified by its titular hero.

“A squirrel is cute, but it’s also a rodent. They destroy things in people’s houses and attack small birds. I wanted to show how we project onto animals. We think we know their emotions. At one point, we wondered if our squirrel should have expressions, but then I went: ‘I don’t want it to do anything it doesn’t actually do.’ It’s one of those animals we take for granted. And when you take something for granted, it’s so painful when it’s gone.”

Instead of choosing obvious villains, Lehmusruusu talks about “the consequences of indifference” in the film.

“I wanted to show people who have good intentions, but they have gone too far. We like to think we’re protecting our families or societies, but what are we willing to sacrifice? It could be nature or another form of life,” he says.

“My idea was to go against this dystopian science fiction where evil is always lurking. In a way, it feels even darker to say that people aren’t bad; they are just making bad choices. As a species, we’re responsible for a lot of shit.”

However, sometimes we are able to clean it up.

“If you look at the bigger picture, the horror of it all slowly sneaks up on you. But I wanted this film to work also if you’re not willing to do that. I want people to find it entertaining, funny and joyful.” %!s()

Indeed, the idea that players' experiences can converge into one overall progression path mirrors the game's own structure, which switches to a single hero for its latter half, aided by the four protagonists that players have already come to know and (hopefully) love.

"The idea of things converging into one is a core concept behind the story, and in terms of gameplay, we believe that everything players experience in the game has value," director Toshiyuki Kusakihara said, as part of an Ask the Developer interview. "The basic idea was to create a system where nothing players go through is ever wasted. Everything is preserved and eventually coalesces into a whole. In Fire Emblem: Fortune's Weave, players can progress through multiple paths simultaneously as well as replay the same path multiple times. To ensure that none of the experiences players had accumulated would go to waste, we felt that consolidating everything into a single save file was the best approach for this game."

"Of course, I’m sure there are players who prefer to keep multiple save files, and I'm actually one of those players myself," associate producer Kenta Nakanishi said. "But because the game system of Fire Emblem: Fortune's Weave is built around multiple paths, having separate save files would create system-related complications. It becomes difficult to keep track of how far players have progressed in each protagonist's story when that progress is spread across multiple save files. So rather than simply limiting the game to a single save file, we added other creative ideas to make the system work better.

"In this game, we preserved save data from the start of every chapter for each main protagonist, and made it possible for players to jump back to those points," Nakanishi continued. "If players think, 'I want to play this chapter again', they can play again from the beginning of the selected chapter. This feature isn't just for replaying chapters, either. Players can use it to review maps, revisit specific cutscenes, or even retry particular battles, so we hope players will make full use of it."

"On top of that, players can repeatedly go back into the past using the Goddess of Fate's power and retry situations as many times as they like," Kusakihara concluded. "In that sense, I think the game's system ties in very closely with the story, as both revolve around the concept of retrying, building upon past experiences, and ultimately weaving those experiences together into a single outcome."

While telling a standalone story, Fortune's Weave is a clear successor to the Switch's hugely-popular Fire Emblem: Three Houses, with many of the same development team returning, and the game itself featuring familiar elements and at least one returning character. For this follow-up, its developers were keen to expand Three Houses' trio of teams, and initially wanted a whopping eight characters to follow. This was then ultimately halved to four, with Eshmel later added as a fifth, to tie the game's opening quartet together.

"Kusakihara-san had really developed a clear theme for each protagonist, and I felt it could lead to something really interesting," producer Genki Yokota said. "But with eight protagonists, there was almost too much we could do... It seemed like players would have a lot to keep track of, which could make the game feel complicated. So we decided to put the focus on four of those protagonists instead."

"Eshmel plays a slightly different role from the four protagonists," Kusakihara added. "The game begins with the player controlling Eshmel, but to be honest, this character didn't even exist until partway through development. Eshmel was another protagonist we added right at the end. Our initial idea was that players would choose whichever of the four protagonists they liked and then keep fighting with that protagonist through to the end. But something about that never quite felt right to me. The issue was that it didn't really feel like the four stories were coming together into one in a satisfying way.

"As I mentioned earlier, once the game reaches its second half, the story comes together into one, and the four protagonists gather in one place. But even after that, if we continued to follow the story through each of their individual perspectives, it just wouldn't have felt like it matched the concept of multiple stories converging into one. That led us to realise that we needed another character who could take a broader view of all four protagonists. So our thinking was, 'If we just had one more person, all the stories would come together nicely!' And that's how Eshmel was born. We were already halfway through development, but I went to the team and said, 'Sorry, but we’re adding one more character'. (Laughs)"

Fire Emblem: Fortune's Weave launches tomorrow, September 17, exclusively for Nintendo Switch 2.

Tom Phillips

News Editor

Tom Phillips is IGN's News Editor. You can reach Tom at [email protected] or find him on Bluesky @tomphillipseg.bsky.social

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The attack on Wednesday hit an area around the city of Nikopol, Dnipropetrovsk region governor Oleksandr Hanzha said on the Telegram messaging app.

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Nikopol sits on the opposite bank of the Dnipro river from the Zaporizhzhia nuclear power plant, occupied by Russian troops since the first days of the war.

Photos posted by Ukrainian officials showed windows blown out of a white minibus, with a trail of blood streaming down the side of the vehicle.

“Russians cynically struck a passenger bus. They targeted a minibus which carried people going about their daily business,” said Mykola Lukashuk, head of the Dnipropetrovsk region council.

There was no immediate comment from Russia on the attack.

The number of civilians killed in Ukraine has increased sharply this year, according to the United Nations, amid an escalation in strikes.

At least 1,396 civilians were killed and 7,978 others wounded in Ukraine during the first six months of 2026, according to the UN Human Rights Monitoring Mission in Ukraine, a 37 percent increase from the same period in the previous year.

Meanwhile, at least 250 civilians were killed and 1,596 others injured in Ukrainian attacks inside Russia during the first six months of this year, according to the UN mission, quoting credible Russian open-source reporting – a 121 percent increase in civilian casualties in the country compared with the previous year.

Both Ukraine and Russia deny deliberately targeting civilians in the war that began with Moscow’s full-scale invasion in February 2022.

Elsewhere, an explosion was heard in the Ukrainian capital of Kyiv on Wednesday morning, a witness told the Reuters news agency, while a Russian strike caused a fire at a warehouse there, city authorities said on Telegram.

Russia also attacked energy infrastructure in Ukraine’s central region of Poltava overnight into Wednesday, regional governor Vitalii Diakivnych said, without giving any further details.

A Russian drone also hit an unnamed industrial facility, Diakivnych said on Telegram.

Russia’s Defence Ministry also announced that it had hit a cargo vessel in Ukraine’s Black Sea port of Chornomorsk, in the Odesa region.

Meanwhile, one person was killed in a Ukrainian drone attack on Russia’s Bryansk region, which borders Ukraine, the region’s acting governor Yegor Kovalchuk said in a statement on Russia’s MAX messenger app. %!s()